Published
2025-06-30
Section
Research Articles
License
Copyright (c) 2025 Guangsheng Meng , Razi, Siti Aishah Binti Hj Mohammad, Diyana Kasimon

This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
The journal adopts the Attribution-NonCommercial 4.0 International (CC BY-NC 4.0), which means that anyone can reuse and redistribute the materials for non-commercial purposes as long as you follow the license terms and the original source is properly cited.
Author(s) shall retain the copyright of their work and grant the Journal/Publisher rights for the first publication with the work concurrently licensed since 2023 Vol.8 No.2.
Under this license, author(s) will allow third parties to download, reuse, reprint, modify, distribute and/or copy the content under the condition that the authors are given credit. No permission is required from the authors or the publisher.
This broad license intends to facilitate free access, as well as the unrestricted use of original works of all types. This ensures that the published work is freely and openly available in perpetuity.
By providing open access, the following benefits are brought about:
- Higher Visibility, Availability and Citations-free and unlimited accessibility of the publication over the internet without any restrictions increases citation of the article.
- Ease of search-publications are easily searchable in search engines and indexing databases.
- Rapid Publication – accepted papers are immediately published online.
- Available for free download immediately after publication at https://esp.as-pub.com/index.php/ESP

Copyright Statement
1.The authors certify that the submitted manuscripts are original works, do not infringe the rights of others, are free from academic misconduct and confidentiality issues, and that there are no disputes over the authorship scheme of the collaborative articles. In case of infringement, academic misconduct and confidentiality issues, as well as disputes over the authorship scheme, all responsibilities will be borne by the authors.
2. The author agrees to grant the Editorial Office of Environment and Social Psychology a licence to use the reproduction right, distribution right, information network dissemination right, performance right, translation right, and compilation right of the submitted manuscript, including the work as a whole, as well as the diagrams, tables, abstracts, and any other parts that can be extracted from the work and used in accordance with the characteristics of the journal. The Editorial Board of Environment and Social Psychology has the right to use and sub-licence the above mentioned works for wide dissemination in print, electronic and online versions, and, in accordance with the characteristics of the periodical, for the period of legal protection of the property right of the copyright in the work, and for the territorial scope of the work throughout the world.
3. The authors are entitled to the copyright of their works under the relevant laws of Singapore, provided that they do not exercise their rights in a manner prejudicial to the interests of the Journal.
About Licence
Environment and Social Psychology is an open access journal and all published work is available under the Creative Commons Licence, Authors shall retain copyright of their work and grant the journal/publisher the right of first publication, and their work shall be licensed under the Attribution-NonCommercial 4.0 International (CC BY-NC 4.0).
Under this licence, the author grants permission to third parties to download, reuse, reprint, modify, distribute and/or copy the content with attribution to the author. No permission from the author or publisher is required.
This broad licence is intended to facilitate free access to and unrestricted use of original works of all kinds. This ensures that published works remain free and accessible in perpetuity. Submitted manuscripts, once accepted, are immediately available to the public and permanently accessible free of charge on the journal’s official website (https://esp.as-pub.com/index.php/ESP). Allowing users to read, download, copy, print, search for or link to the full text of the article, or use it for other legal purposes. However, the use of the work must retain the author's signature, be limited to non-commercial purposes, and not be interpretative.
Click to download <Agreement on the Licence for the Use of Copyright on Environmental and Social Psychology>.
How to Cite
Decoding Chinese Kung Fu films: Cultural symbolism, audience cognition, and the formation of national identity
Guangsheng Meng
Department of communication, Faculty of modern languages and communication,Universiti Putra Malaysia, UPM Serdang, Selangor Darul Ehsan, 43400, Malaysia.
Razi, Siti Aishah Binti Hj Mohammad
Department of communication, Faculty of modern languages and communication,Universiti Putra Malaysia, UPM Serdang, Selangor Darul Ehsan, 43400, Malaysia.
Diyana Kasimon
Department of communication, Faculty of modern languages and communication,Universiti Putra Malaysia, UPM Serdang, Selangor Darul Ehsan, 43400, Malaysia.
DOI: https://doi.org/10.59429/esp.v10i6.3799
Keywords: Chinese Kung Fu films; film semiotics; Chinese philosophy; national identity
Abstract
Films serve as potent cultural agents that shape collective consciousness and reinforce social identity. This study investigates the symbolic narratives and philosophical underpinnings in selected Chinese Kung Fu films through a semiotic and social psychological lens, drawing upon Social Identity Theory and cultural cognition frameworks. By analyzing key cinematic elements—such as martial arts choreography, narrative archetypes, and embedded Taoist and Confucian values—this research explores how these films promote in-group identity among Chinese audiences and evoke cultural fascination or exoticism among global viewers. The findings suggest that Kung Fu films do more than entertain; they operate as psychological tools that foster national pride, transmit collective memory, and mediate cross-cultural perceptions. This paper contributes to a deeper understanding of how symbolic visual culture influences affective responses, cultural belonging, and identity formation in diverse audience contexts.
References
[1]. 1.Metz, C. (2005). Film language: A semiotics of the cinema (L. Senyao, Trans.). Jiangsu Education Press. (Original work published in French)
[2]. 2.Peirce, C. S. (1934). Collected papers of charles sanders peirce (Vol. 5). Harvard University Press.
[3]. 3.Zhao, Y. (2025). Lectures on semiotics [In Chinese]. Peking University Press.
[4]. 4.Shweder, R. A. (1991). Thinking through cultures: Expeditions in cultural psychology. Harvard University Press.
[5]. 5.Peng, K., & Nisbett, R. E. (1999). Culture, dialectics, and reasoning about contradiction. American psychologist, 54(9), 741.Doi:10.1037/0003-066X.54.9.741
[6]. 6.Bhabha, H. K. (2012). The location of culture. routledge.
[7]. 7.Balázs, B. (2003). Theory of the film: Character and growth of a new art (H. Li, Trans.). China Film Press. (Original work published in Hungarian)
[8]. 8.Zhang, L. (2012). The secrets of kung fu films: The Art of Action Directing [In Chinese]. World Publishing Corporation.
[9]. 9.He, P. (2005, June 13). Kung Fu films represent the greatest contribution of the Chinese people to world cinema [功夫片是华人对世界电影的最大贡献]. Xin Kuai Bao / New Express via Sina Entertainment. https://ent.sina.com.cn/x/2005-06-13/1614750906.html
[10]. 10.Yu, S. Q. (2010). Kung Fu cult masters: From Bruce Lee to Crouching Tiger (L. Hunt, Ed.). Wallflower Press.
[11]. 11.Morris, M. (2003). Learning from Bruce Lee: Pedagogy and political correctness in martial arts cinema. In Keyframes: Popular cinema and cultural studies (pp. 187–202). Routledge.
[12]. 12.Teo, S. (2015). Chinese martial arts cinema: The wuxia tradition. Edinburgh University Press.
[13]. 13.Louie, K. (2002). Theorising Chinese masculinity: Society and gender in China. Cambridge University Press.
[14]. 14.Yu, S. Q. (2012). Jet Li: Chinese masculinity and transnational film stardom. Edinburgh University Press.
[15]. 15.Richards, S. (2019). The patriotic narrative of Donnie Yen: How martial arts film stars reconcile Chinese tradition and modernity. Celebrity Studies, 10(2), 276–284.
[16]. 16.Lo, K. C. (2005). Chinese face/off: The transnational popular culture of Hong Kong. Hong Kong University Press.
[17]. 17.Tang, A. (2012). The Case of Ip Man: Postcolonialism, Nationalism, and Soft Power Currency in Twenty-First Century Chinese Martial Arts Cinema (Doctoral dissertation).
[18]. 18.Horwood, G. (2008). Tai Chi Chuan and the code of life: Revealing the deeper mysteries of China's ancient art for health and harmony (Rev. ed.). Singing Dragon.
[19]. 19.Mazzilli, M., Bergen-Aurand, B., & Wai-Siam, H. (2015). Transnational Chinese cinemas: Embodiment, corporeality, desire and the ethics of failure.
[20]. 20.Metz, C. (2011). Language and cinema (Vol. 26). Walter de Gruyter.
[21]. 21.Zhao, Y. (2025). Lectures on semiotics [In Chinese]. Peking University Press.
[22]. 22.Plantinga, C. (2009). Moving viewers: American film and the spectator's experience. University of California Press.
[23]. 23.Hennessy, J., & West, M. A. (1999). Intergroup behavior in organizations: A field test of social identity theory. Small group research, 30(3), 361-382.
[24]. 24.Teo, S. (2021). Chinese martial arts film and the philosophy of action. Routledge.
[25]. 25.Markus, H. R., & Kitayama, S. (2014). Culture and the self: Implications for cognition, emotion, and motivation. In College student development and academic life (pp. 264-293). Routledge.
[26]. 26.Anderson, B. (2020). Imagined communities: Reflections on the origin and spread of nationalism. In The new social theory reader (pp. 282–288). Routledge.
[27]. 27.Tajfel, H., Turner, J. C., Austin, W. G., & Worchel, S. (1979). An integrative theory of intergroup conflict. Organizational identity: A reader, 56(65), 9780203505984-16.
[28]. 28.Ashmore, R. D., Deaux, K., & McLaughlin-Volpe, T. (2004). An organizing framework for collective identity: articulation and significance of multidimensionality. Psychological bulletin, 130(1), 80.Doi: 10.1037/0033-2909.130.1.80
[29]. 29.Hogg, M. A. (2007). Uncertainty–identity theory. Advances in experimental social psychology, 39, 69-126.
[30]. 30.Boardwell, D., Thompson, K., & Smith, J. (2004). Film art: An introduction (7th ed., pp. 477–479). McGraw-Hill.
[31]. 31.Spigel, L., & McRobbie, A. (2007). Interrogating postfeminism: Gender and the politics of popular culture. Duke University Press.
[32]. 32.Lu, J. (2011). Body, masculinity, and representation in Chinese martial arts films. In Martial arts as embodied knowledge (pp. 97–122).
[33]. 33.Schneider, L. (2015). Signing with a sword: Signature sign patterns of semiotics as connotative constructs applied to Chinese martial arts cinema (Doctoral dissertation).
[34]. 34.Wang, C. (2017). The western gaze in animation: A case study of Kung Fu Panda. Journal of Content, Community & Communication, 6(3), 3–12.
[35]. 35.Buccellato, M. (2025). Is this where they teach the philosophy of “Tai Chi”? Martial Arts in Latin Societies.Doi: 10 . 4324/9781032648620-11
[36]. 36.White, L. (2020). Legacies of the drunken master: Politics of the body in Hong Kong kung fu comedy films. University of Hawaii Press.
[37]. 37.Li, X., & Shen, T. (2024). Form, momentum, spirit: The dual construction of visual aesthetics and humanistic spirit in new century martial arts films. Advances in Education, Humanities and Social Science Research, 12(1), 169–169.
[38]. 38.Wong, J., & Rinehart, R. E. (2013). Representations of physical prowess, the body, and national identity in selected Bruce Lee films. Sport History Review, 44(2), 186–205.
[39]. 39.Yip, M. F. (2017). Martial arts cinema and Hong Kong modernity: Aesthetics, representation, circulation. Hong Kong University Press.
[40]. 40.Bowman, P. (2013). Beyond Bruce Lee: Chasing the dragon through film, philosophy, and popular culture. Columbia University Press.
[41]. 41.Fore, S. (1997). Jackie Chan and the cultural dynamics of global entertainment. In Transnational Chinese cinemas: Identity, nationhood, gender (p. 240).
[42]. 42.Wu, M. H. (2016). Confronting Orientalism with cinematic art: Cultural representation in Bruce Lee’s The Way of the Dragon. Intergrams, 16(2), 30–50.
[43]. 43.Wang, W. C. (2008). A critical interrogation of cultural globalisation and hybridity: Considering Chinese martial arts films as an example. Journal of International Communication, 14(1), 46–64.
[44]. 44.Wu, H., & Chan, J. M. (2007). Globalizing Chinese martial arts cinema: The global-local alliance and the production of Crouching Tiger, Hidden Dragon. Media, Culture & Society, 29(2), 195–217.
[45]. 45.Hall, S., Evans, J., & Nixon, S. (2024). Representation: Cultural representations and signifying practices. Sage Publications.
[46]. 46.Zeng, H., Yao, G., & Ma, X. (2025). The impact of short videos on young people’s willingness to engage in martial arts: establishing and testing a conditional process model. Humanities and Social Sciences Communications, 12(1), 1-17.Doi:10.1057/s41599-025-04963-0






